SIR JOHN EVERETT MILLAIS, P.R.A.
1829 - 1896
signed with monogram and dated 1868 l.r.
pencil with blue and grey wash heightened with bodycolour
19.5 by 16.5cm., 7¾ by 6½in.
The paper has been laid on to card which is providing a flat and stable structural support. There are no visible tears or holes, stains or signs of foxing. The sheet has discoloured slightly and might benefit from a light clean.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
By descent through the artist's family until 2017;
Bonhams, London, 27 September 2017, lot 43;
London, Royal Academy, Works by the late Sir John Everett Millais, Bart., President of the Royal Academy, 1898, no.213;
London, Royal Academy, Millais, 1967, no.37;
St. Helier, Jersey Museum, Sir John Everett Millais, Bart., P.R.A. (1829-1896), An Exhibition Celebrating the 150th Anniversary of Millais' Birth, 1979, no.45
John Guille Millais, The Life and Letters of Sir John Everett Millais, Vol.II, London, 1899, p.421, illustrated p.423
This is the only drawing made by Millais for an uncompleted collaborative project with Alfred Lord Tennyson and the composer Sir Arthur Sullivan. Millais' son recounted a conversation with Sullivan; 'It had long been my desire and ambition to do a work which should combine the three sister Arts, poetry, painting and music; and this idea I imparted to Tennyson and Millais. They both fell in with the notion, and Tennyson for this purpose wrote the little cycle of songs called The Window, or the Songs of the Wrens. These I set to music and Millais began the illustrations; each song was to have its accompanying picture.' (John Guille Millais, The life and letters of Sir John Everett Millais, Vol. II, London, 1899, p. 421) Sullivan described the present drawing; 'It was a lovely drawing of a girl at a window, birds flying around and 'vine and eglantine' trailing about it.' (ibid Millais, p.421).